Tuesday, April 23 @ Club Atlantis
11213 Detroit Ave., Cleveland, OH
Wednesday, April 24 @ The Hill’s Eye
770 Bay Road, Belchertown, MA
Thursday, April 25 @ PR Matrix Hex
Providence, RI
Friday, April 26 @ The Silent Barn
603 Bushwick Ave., Brooklyn, NY
Saturday, April 27 @ Strange Matter
929 W. Grace Street, Richmond, VA
Sunday, April 28 @ RCN Cave
68 W. Exchange St., Akron, OH
An audio piece of mine entitled “Harbinger Variations” is going to be installed at The Barber institute of Fine Arts on Thursday, March 21st as part of the Dirty New Media event being presented by Vivid Projects and artist/curator Antonio Roberts
Harbinger Variations is a set of five remixed, reprocessed, and replayed versions of Harbinger Bit, a track I released on my SoundCloud in 2012:
I’ll also be performing yet another version of this piece, Harbinger Variations VI, as part of my performance at the Crow With No Mouth Concert Series event in St. Paul, MN on Saturday, March 23, 2013
Saturday, March 23rd, 2013
8 PM
Crow With No Mouth Concert Series presents:
Studio Z
275 East 4th Street
Lowertown, St. Paul, MN
$10
BYOB
“Energy is an eternal delight. William Blake
I have seen Soliday and Mueller perform, and I can tell you confidently that as different as their sound materials and respective approaches may be, both musicians burned through their sets with an energy as Dionysian as any I have witnessed.
Over the past several years I have written about Mueller’s various projects – and various they have been – here, here, here and here. On March 23, Mueller will present an iteration of his Death Blues project for the second concert in the 2013 series. Readers inclined to previews can learn more about the Death Blues on Mueller’s site, Rhythmplex. Having seen Mueller in concert four times, in solo, trio and ensemble contexts, it is my great pleasure to present him in the cwnm series. Somehow this has seemed inevitable.
In October 2012, Jason Soliday performed a solo set for modular synthesizer/electronics at Eric Lunde’s two-day festival of noise music here in Minneapolis. I was blown away, and promptly asked him if he would play the crow series in 2013. A quick look at Soliday’s web site reveals a considerable list of playing partners and projects. He put a copy of his first full-length solo release, Nonagon Knives, in my hands in our brief meeting in October. It documents the best elements of intelligent, elegant noise music – streams of unsparing, momentous sound, dramatically lurching between high-volume/low-intensity and low-volume/high intensity dynamics, spat out and shaped with the confidence of a musician who has put in the work. I had heard of Soliday for several years, primarily from his fellow Chicagoans, who unfailingly praised his stewardship of the venue Enemy, where Soliday curated an improbable number of shows over the years without regard to genre or trend. I am excited to bring him to a new audience.”
-Jesse Goin
concert poster by Jason Zeh
Thursday Feb 28 9pm
The Josephine/Seattle,WA
http://josephinebaker-bonaparte.blogspot.com/
bran(…)pos
J.Soliday
Viktoria
Masaaki Masao
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Friday March 1 8PM
Alice Coltrane Memorial Coliseum/Portland, OR
[map]
bran(…)pos
J.Soliday
Pulse Emitter
with Shadow Puppetry by
Maia Bambul
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Saturday March 2 9PM SHARP!!
LCM/Oakland, CA
[map]
bran(…)pos
J.Soliday
Robair/Ingalls/Shiurba/Scandura
Vex/Xannaxx
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Sunday March 3 12noon SHARP!!
Godwaffle Noise Pancakes
the LAB/San Francisco, CA
http://www.thelab.org/
(note–no bran)
Thomas Dimuzio & Wobbly
J.Soliday
Abyss of Fathomless Light
Shortwave Surfers
Amar Chaudhary
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Sunday March 3 9pm
The Handbag Factory/Los Angeles, CA
http://thehandbagfactory.blogspot.com/
J.Soliday
bran(…)pos
Pulsating Cyst
s&ndc&stl&
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Wednesday March 6 10-11pm
Live on KXLU
http://www.kxlu.com/
Glossolalia
hosted by Professor Cantaloupe
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Radius Episode 30: J. Soliday
J. Soliday
Radial Variations
38:44
Statement:
Memory fades. Memory fails. The act of observing a thing changes it. Recordings of a piece rarely sounds like the piece performed. Focus changes, different aspects rise to the fore.
Radial Variations is a collection of thirteen reinterpretations of a piece J. Soliday performed at the former Enemy performance space on July 20th, 2012 in Chicago. Line and room recordings of the performance were sped up, slowed down, chopped, looped, replayed, and reprocessed through the system in which they were originally generated. The resulting works should not be considered definitive versions, neither individually nor as a whole, but merely as windows into an ongoing continuum.
Pictures and Sounds
with performances by
John Wiese
Peter J Woods and Lucky Bone
Bil Vermette
Jason Soliday
8PM February 23rd, 2013
at
The University of Chicago’s Film Studies Center
5811 S. Ellis Ave Cobb Hall #306
Chicago, IL
for this event, I’ll be performing live soundtracks to videos by Frank Pollard
J. Soliday “Nonagon Knives”
By Steve Dewhurst
The début solo full length from Chicago experimentalist Jason Soliday (I <3 Presets, Illegal Teeth, Winters in Osaka, and founder of the sadly defunct gig space Enemy), Nonagon Knives is an hour long hit of modular synth noise and the best album of its type I’ve heard for a long time, probably since KILT’s excellent Kitchen Sorcery on Prison Tatt.
To say Nonagon Knives is unrelenting is something of an understatement; there is no introduction whatsoever to the opening track ‘Snarled Ellipse|Snared Ellipse’, which bursts in on a thrashing bundle of sparking wires and whose only attempt at stopping for respite comes in a series of high-pitched synth retches halfway through. ‘Peel (Offset)’ purrs like a sleeping tiger, one eye open on the approacher before letting rip again with ‘Each Could Clearly Hear The Other…’, and so on until the exhausted crackle of ‘Consider Yourself Dissolves’ closes the nine track ear-fuck and leaves the listener staring wild-eyed and rooted to the spot.
The real beauty of this music lies in the detail. Far from being a flat-out noise fest, Nonagon Knives brims with texture showcases Soliday’s ability to coax more than just random noise from his chosen instrument. ‘An Obsession With Aerodynamics’, for example, hums with feedback beneath the surface racket, lending it an unsettling feeling of depth. Imagine waving your hand around in a dark hole you know harbours snakes and waiting for the bite – that’s the kind of effect the best of Soliday’s work can have on you, and it’s often as though it’s been wired directly into your spine. Soliday retains superlative control too; nothing runs him and nothing sounds superfluous. The undoubted highlight here is the quarter-hour ‘The Comfort of Outer Forms’, which uses its extended playing time to run the whole gamut of sonic shades. From burping frog croaks to zipping space cars and some disarmingly cute chirrups, the track eventually blends the lot in a rapidly rotating neutron star of noise that flings out ever fiercer tendrils. They themselves construct miniatures, all of which hiss around the perimeters and some of which even have the faintest hint of melody. This is the kind of minutiae that will reveal itself upon repeated listens (it goes straight back around whenever I play it), and what marks Soliday out as being a truly exceptional noise artist. Nonagon Knives will hopefully be the first of many.
